Defy Convention: Christian Scott
For any culture, genre or art form to evolve and thrive, there must be individuals willing to take creative risks and break new ground. Christian Scott has taken it upon himself to propel Jazz into the future with fearless innovation and intricate complexity. A graduate of Boston’s esteemed Berklee College of Music, he’s a classically trained trumpeter, composer and producer with an expansive and curious mind. His gift shines brightest when he experiments with sonic fusion; he could be channeling the soulful riffs of Miles Davis while melding the electronic progressions of Radiohead and the math-rock precision of Battles. No matter the musical terrain, he’s never afraid to explore further and dig deeper. Scott even plans on adding elements of Trap music to his upcoming compositions. We recently caught up with him at the iconic Blue Note Jazz club in Manhattan to learn more about his extraordinary, musical journey.
Can you remember the first time you ever picked up a trumpet?
Yeah, It was my cousin Brian’s horn. He had just gotten it and was showing it to my brother and I. It was a beautiful old silver plated joint with gold on the bell.
It seems the creative genius runs in your family. Your uncle, Donald Harrison is a legendary saxophonist and your twin brother is an accomplished writer/director. Where did this overachieving trait come from?
Don’t know if it’s a trait so much as we all feel we’re here to accomplish something. My family has a very strong will, generally when we fix our sights on something, we see it through.
How many years of practice and dedication did it take to get really good at playing the trumpet?
I’ve been playing since I was 11 so that’s 22 years now. It took about 8 years of playing 3-6 hours a day to not sound terrible … lol.
“My musical adolescence was filled with conjecturing on how to create music that could work as a bridge across cultural barriers and time.”
How would you describe the type of Jazz music you play?
People call our sound Stretch Music. The concept was born out of the notion that the point of view of others is valid, and that they don’t need to be a part of your frame of reference to be seen as such. It’s about expanding oneself to see all as valid. You have to be able to stretch yourself to stretch music. It’s the sound of the complete reevaluation of the way we interact and relate musically. My musical adolescence was filled with conjecturing on how to create music that would/could work as a bridge across cultural barriers and time. I hope to show that no matter what cult/creed/culture you happen to belong to, learning to reevaluate the way we communicate and not being afraid to engage one another through questioning will ultimately help us relate to one another better. “Stretch Music” is a genre-blind musical form that attempts to stretch jazz’s rhythmic, melodic and harmonic conventions to encompass as many other musical forms, vernacular, thought processes and cultures as possible. A form where reevaluation of past thought processes and modes of operating coupled with a relentless search to find musical/cultural bridges via these tenets. It looks to heighten this generation’s musical/cultural/communal dialogue.
Speaking of your trumpet, it’s a really impressive instrument. Can you share the story behind it?
I design my own line of brass instruments in a partnership with Adams Instruments. The Siren, Sirenette, Reverse Fugelhorn and the Tilted Bell Trumpet. All of which I design with Miel Adams, whom in my opinion is the dopest horn designer on the planet. The Christian Scott Line will be available for purchase in 2017.
While we’re on the topic, let’s also discuss your accessories: you wear some really funky & bold accessories. Where do you find these unusual pieces?
All over the world. I average about 200 days a year on the road. Some of my pieces are from Senegal, others from Indonesia, Morocco, Turkey, Denmark, Singapore, The Canary Islands, etc. If I think the piece is one of a kind, I have to have it.
When’s your next album dropping and can you tell us the mood and theme you’re going for with this upcoming release?
September & January, we’re going to be releasing new material. It’s an evolution in the Stretch Music style. I am looking forward to expanding the sound to encompass more Trap Music. Imagine John Coltrane’s A Love Supreme or Miles Davis’ Kind of Blue mixed with the beats and textural elements found in Trap Music. (Video below of Christian rocking with some of the leaders of Hip-Hop’s new school)
You’ve been really prolific with your album releases since the beginning of your career (both live and in-studio). How often are you recording and how much new music are you composing any given month?
I like to make a record a year. We’ve made double records and live records in the same year before. I am looking to escalate this year by putting out two new joints.. I compose a lot, so I’d say the average month sees about 20-30 compositions born.
Jazz players are generally known to have impeccable style and fashion sense? How would you describe your approach to style – both on-stage and off?
What you see when I’m on the bandstand is how I dress in my everyday life. I don’t hit the audience with a representative. What you’re witnessing is really who I am and what I’m about. My fashion reflects my openness. I’m a world citizen, so I like my style to showcase a multitude of cultural elements. I could be in drop crotch knitted joints from Thailand with a Gold Torque bracelet from Indonesia, Dior shades and a Cassius Clay T-shirt with Jordans on. It’s a mash up.
“I’m a world citizen, so I like my style to showcase a multitude of cultural elements.”
You’ve played Jazz festivals all over the world – you’ve also been to Cuba several times. How was your Havana experience?
Every time I’ve been to Havana, someone has had to drag me out. I love it there. It feels like New Orleans before the Hurricane. The culture, music, cuisine, art – it’s home to me.
No matter where you go, you’ll always be a product of New Orleans. Why is the city of New Orleans different from any other city in the world?
It’s really hard to put that into words. The city is its people and the people are so resilient, original and nuanced. I think the people are what make it such a special place.
The last thing we have to ask is the origin of your adopted African name “Atunde Adjuah” – is there a meaning behind that?
I completed my name because I didn’t feel comfortable navigating the world exclusively as Scott. I love my family and respect the tenets of the name as it relates to them but I don’t think the history of how Blacks were branded with the names of their captors is one that should be taken so lightly. I will let my children determine the meaning of the names, “aTunde” and “Adjuah” which are originally places.
To keep up with Christian Scott, follow him on IG at: @cs_stretchmusic
All clothing shown is from the SS16 O.N.S collection available at 71 Greene, Soho.
